Boston, MA – “Ben’s First Show” – August 2, 2002

There are blue cotton panties on my front lawn. I don’t know how they got there or how long they’ve been there just that I don’t want to touch them to throw them away and apparently neither does Dean or anyone else for that matter because day after day, they’re there.

This morning when I’ve showered and packed, I look out the window to see the band is there; Soucy, Castro, and Dino all huddled around the panties in my yard and they’re all crinkle-faced and wondering aloud who’s panties are they? Where did they come from? Where are they going? And why? It’s disturbing to them when I tell them I don’t know and so we all just hover over them with our suitcases by our sides until Amanda, my assistant, comes to pick us up for our flight. But on the ride to the airport, they’re all anyone can talk about and the blue panties on my yellow lawn set the tone for the day.

At the airport, the woman behind the counter insists she doesn’t have us on any flight to Boston via St Louis despite the confirmation letter I show her from hotwire.com saying we’re all set to go. However, she does find us on a plane to Chicago that’s going onto Boston and we take what we can get.

In Chicago, I get a strawberry banana smoothie and shop around in a bookstore deciding on “Choke,” a title by Chuck Palahniuk the author of “Fight Club.” It’s dark and cynical and apocalyptic and I like it ‘cause I’m really none of those things.

I love mulling about in bookstores—surgically opening covers, staring into spines and marrow because, who knows what you’ll find? Love, pain, sex, tears, a different time, a different space, a different version of yourself, a different set of problems from which to escape your own.

Soucy at the famous Make Way For Ducklings statue in the Boston Gardens

When we arrive in Boston we immediately set off to find my brother. Tonight is his first live show (with his band) and I am thrilled I get to be here for it. The venue is called TT the Bears. We’re not exactly sure where it is but Soucy’s thinks he’s been there (albeit in 1983) and remembers it being in close proximity to Harvard in Cambridge. So with luggage in hand, we turn ourselves over to The T, Boston’s subway system. The Blue Line connects to the Orange Line which links us up with the Red Line heading outbound by which time Soucy admits to not remembering if it really is out this way at all and we all sigh and I call Kipp on Soucy’s phone.

Kipp, as you may recall from my early days on the road, was once my boyfriend, now, my brother’s manager.  While there is still only love between us,  I haven’t seen or spoken to him since I got engaged.  I expect it may be a bit awkward when he answers, but he sounds genuinely excited to see me and directs us to get off the Red Line at “Central.”

But at “Central,” we’re lost again. We drop our bags outside a used record shop playing Hoagie Carmichael loudly through a scratchy olive megaphone and Soucy goes down into the store to ask directions. We look like we’re running a yard sale with our luggage splayed out — computers, guitar cases and shedded clothing on the sidewalk. A drunk man waddles by mumbling nothings. Girls point at store windows talking loudly about shoes they covet. A cigarettes smokes, abandoned on a curb.

When we finally arrive at the club Ben lifts me up to give me a hug and slings me around in the air.  He looks great, lean and handsome underneath his baggy cloths and hat. There’s a great turnout at the venue and plays his heart out for all the pretty girls who’ve already dedicated their hearts to him after the first song. He’s GREAT. He’s confident and his band is tight and full of unstoppable talent.

After his set, I help him sell his new CD, “Famous Amongst the Barns,” and I brag about singing harmonies on some of the songs. It’s the first night they’re available and they’re going like hotcakes. I buy one too.

Ben & Sal selling CDs

We stick around the club for a while listening to the next band but we’re not all that jazzed about them and when Delucchi shows up, fresh in from LA off the Femmi Kuti tour, we rejoice in our band being whole again. I don’t think I can convey how important Delucchi is to our band.  Having Brian for a substitute soundman one the first leg has only amplified my appreciation for Delucchi — his work ethic, positivity, patience, organization, not to mention his willingness to drive at all hours of the night. 

We retrieve our bags from Ben’s van, congratulate him on a fantastic first night and bolt, promising to reunite for an early breakfast that never ends up happening. Back onto the conveyor belt of subways that lead to our hotel in Woburn. Here we reunite with Moby, right where we parked him when we’d flown back to Colorado for some mountain gigs last week.

In the room, I throw Ben’s CD in for a spin .  The guys are excited to hear the tunes I sang harmonies on, but to my dismay, all of my vocals have been scrapped.  I’m not even mentioned next to my Mom and Pops’ names on the ‘additional artist’ fold-out.

I’m feeling pretty embarassed and dejected when Delucchi yells up from the ground floor to let me know “Moby’s dead.” A light was left on while we were away, and we need a jump before morning. I’m on hold with AAA when I get a message from Dean that he doesn’t think he can make it out this weekend.  I feel deflated and tired and it sends me into a tailspin of self-loathing.  This is no way to start a second leg of a tour. I kick myself for letting myself get so down and it’s 2:30 before AAA shows up.

I open a can of lentil soup and eat it out of the can with stone wheat thins I find in the trunk. There’s no AC and I fall asleep, above the covers, reading “Choke” and feeling the way those blue cotton panties must feel on my lawn.

Boulder, CO – “Our House” – July 30, 2002

I’m two days shy of flying back East to finish up the tour. The idea of heading back into Moby’s upholstered arm(rest)s is bittersweet when contrasted against this week spent in my fiance’s real live arms. Dean was a sight for sore eyes, standing at the door waiting for me, heart open and steady as I stumbled into his embrace, exhausted and battered, like a soldier returning from war.

2403 Pine Street, our house — bought together and renovated with our own hands, has grown and transformed in my absence.  Our shelves have new dishes, our bed has sheets.  Dean, ever thoughtful, outdid himself and by restoring my parent’s dining room table, reviving its 1975 charm in a way that made it glow with my musical, childhood memories. For my homecoming, he adorned every corner with little miracles—lights hanging delicately, plants thriving, and our bedroom turned into a haven of love. Candles flickering like an orchestra of warmth and hope.

We’ve barely left that room. The world slips away, and our time together is reduced to only the simplest needs—food, the occasional breath of fresh air, some light stretching, and three shows in the mountains.

Boris and Dean in bed

Dean came with me to all of them. The first two were smooth enough, but Aspen was a total mess. The venue was chaos—two soundmen were in a full-blown standoff when we arrived, and from above, torrential rain poured as if to drown the town off the map. But all storms have their silver linings. My grandma Trudy surprised me by showing up smelling like tea rose (her signature scent), and despite everything, we sold $700 worth of CDs.  Take that rain!

Sal & Trudy

It’s interesting, even though the first half of this tour has been uglier than most, there’s been a shift in the energy at shows.  I can see our crowd size growing, our show tightening, and my career blooming and growing roots.  I know we have something special and that people are catching on and it’s exciting.  But it doesn’t change the fact that being away from Dean physically hurts. 

Where I once used to dream of a life on the road, basking in its freedom and adventure. Now I dream of a life at home—here, in Boulder, in Our House, which like the one in the CSN song, is a very very very fine house, with two cats in the yard…

and the steady rhythm of daily routines, and a man who loves me.  Being away feels…off, like I’m stretching myself too far—a rubber band set to snap.

But what would I be working toward if it weren’t music?  Would I pursue Dean’s and my landmine victim rehabilitation innitiatives in The Tranquility Project? Write music for others? Open that raw food restaurant I keep imagining Dean and I running? Or maybe breathe life into Consenses, a new idea that’s been begging that I build a multidisciplinary art collective in town?

The possibilities might be endless if I could bring myself to imagine stepping away from the path I’ve charted—but the tracks I’ve laid are my own. I’m invested in them.  I routed them. I forged and carved them and lay them into the dry earth —a road less traveled in the well worn map of music.  I’ve committed myself to this lifestyle, to this band. I bought Moby to take us where I believed we were all heading —The idea of jumping tracks feels utterly impossible.

And after all, to be fair, the road isn’t all bad. It’s just… hard and awful.

Maybe surrounded by Moby’s arm(rest)s are exactly where I need to be, at least for now. It’s only two more weeks after this, and Dean will be flying out to see me next weekend. I’ll hold onto that thought, wrap myself in it like armor, and just keep going as I have been for five years now.

I’ll have to see how I feel by the end of this leg.

Signing off… confused.

New York City – “Greetings, From My Hairy Nuts” – Sotheby’s Auction House – July 24, 2002

After tonight’s gig in New York, we have a whole week off in Colorado. I can’t overemphasize how excited I am to see my fiance! But it’s too early to get worked up. Though our flight home is less than 24 hours away, we still have four states to visit before take-off.

The day kicked off in New Jersey, where Soucy woke me with breakfast in bed? Suspicious. He hovered over me with a lukewarm coffee and a bagel, ever so slightly smudged with cream cheese. He gave a little throat clearing, eh hem, and gently grazed my shoulder with the underside of his paper plate. Soucy is nice, but never this nice. I stumbled in the sheets to insinuate my reluctance to get up.

“Come on, Sal,” he announced with unreasonable charm. “It’s Raptor Trust day!”

Ah. Now it all made sense. The Raptor Trust, if you aren’t already aware, is a bird rehabilitation sanctuary in New Jersey. It’s operated by Soucy’s parents and is the childhood home of my continental breakfast carrying guitarist. I should have remembered it was bird day!

As we slid through the backroads of Soucy’s hometown, he pointed to places of interest like an enthusiastic tour guide — his best friend in fifth-grade’s home, unrequited loves parents’ house, favorite stoner hangouts, and the pièce de résistance, the site of his first french kiss.

Unfortunately, our Soucy tour made me late for my interview with Paper Magazine, and I spent the first hour of my visit, glued to a phone in the Soucy’s living room.

When I finally emerged, I joined the band on the continuation of the Soucy tour around The Raptor Trust grounds. Chris proudly showed us the inner workings of his family’s organization. He demonstrated how to feed baby birds with tiny instruments inserted into cup like, screaming mouths. He explained the process of freezing rodents to make yummy rat pops for hungry adult raptors. 

Soucy samples the rat pops at The Raptor Trust

I got to hold a barred owl and a beautiful eagle with an injured wing.  But to stay on top of our busy schedule, our bird handling would have to be cut short.

Bidding a grateful adieu to Mr. and Mrs. Soucy, we cruised over the bridge and down the FDR toward New York City. Our destination? Sotheby’s. Yes, that’s right, that Sotheby’s.

Was playing a set at Sotheby’s even a thing? Turns out, not really—we found ourselves in the middle of some big opening event for a new Miguel Calderon exhibit. Load in included riding up in a freight elevator next to a $5 million Andy Warhol portrait.  Our green room was crammed with precious artwork worth billions and we decided against making ourselves to comfortable, least the couch turn out to be a Thomas Molesworth or the drink tray, something once belonging to Louis Xiv.

After a brief sound check I decided to amble around the newly hung gallery.  The artwork was quite shocking (which is really saying something.  I am not easily shocked). Off to stage left was an series called “Greetings from my Hairy Nuts” featuring Miguel’s balls against scenic postcard backdrops — tiny paper mâché action figures vacationing, diving, and fishing on the artist’s hairy nuts. Off stage right was a series of photographs showcasing a wannabe gangster shooting taxidermied safari animals with a Magnum.

Our makeshift stage was in the main hall and when I took the mic, I pretended I was only there to auction off some of the instruments (insisting the players came with them).  The audience seemed to enjoy my bit and played along.  Sotheby’s was soon packed with music enthusiasts, two of whom came from 6 hours away in Syracuse just to see us.  They shouted and sang along to all my songs (even the words I forgot).  The whole event was a surreal experience — more dream than reality, and over too soon. Once again, we were rushing to stay ahead of our unreasonably tight schedule.

This last bit was going to be the tricky part—the dismount if you will. I’d made reservations at The Spring Hill Suites in New London, and figured we could get there by midnight to kack out for a while before heading onto Boston for the flight.  But there was construction traffic and cars dripped through the interstate like water through a leaky faucet. Dino took the first shift and I, in shotgun, fell asleep to the lull of classical music over crackly FM airwaves.

Dino takes the first shift.

I woke up at 1:55 alarmed. Dino was doing 90 with his chest pressed against the steering wheel, elbows jutting left and right. There was loud static coming from the radio, which was, intermittently playing Mozart and Brian shouted up from the back “How you doing there Dino.”

Dino’s eyes were wild and wide “I dunno man. I’m getting tired. I might need to stretch a little.” We pulled over and Dino proceeded to do some impressive yoga on the side of the road to wake himself up. Luckily New London was only the next exit and we snagged three hours of sleep, before climbing back onto the road at 5 AM.

I took the morning shift, navigating toward the sunrise and Boston while Kenny, finger tacking a map, hollered directions from the back.

At the airport, we cobbled together a breakfast of dry biscuits, suspiciously yellow eggs, and undercooked, fatty bacon before collapsing at the gate. Dino and I claimed an unmanned secondary screening table for a kip while the rest of the band sprawled beneath it on the floor. As I fell asleep, I could hear Soucy distressing about the things he’d forgotten in the van and when I woke up it was to getting kicked out of the area by a frizzy-haired, secondary screening woman with an intimidating frisking wand.

The flight itself was a collective knockout—we were all sleep-deprived, drained, and high fiving our legendary capacity to make an exceptionally chaotic, tight schedule work out.

Colorado, here we come.

Boulder, CO – “Making a Home” – February 15, 2002

the sky is tinted salmon and the mountains are black and crooked. It’s not my idea to be up at 6:00 and I look through squinted eyes at my beloved, who’s just hit ‘snooze’ in hopes of finishing something important he’d started back in a dream.  

I slip into Carharts and shiver my way into the dark hallway of our new house.  This is the first time I’ve lived with a boyfriend, let alone owned a home with one and it’s both thrilling and daunting.  I’ve always loved living alone, enjoying the freedom of hanging pictures where ever I please and the comfort of knowing a slice of chocolate cake will still be in the fridge where I left it in the morning.  So far, the joy of waking up next to my love every morning and the thrill of collaborating on making a home with him outweigh any downsides but I’m not sure how I’ll handle losing some of my independence.  I feel slightly like a wild horse tamed.  2403 Pine Street is a fixer-upper in downtown Boulder and Dean assures me we can make it great.

The past three months have been spent renovating and we’ve been doing most of the work ourselves. So far we’ve put in some windows, hardwood floors and demo-ed our ceiling (which I did, single-handedly by crawling through the heating vent and slamming the roof down with my heal).  Not that we’re nearly done! Dean and I have a giant poster board with a never ending list of things we need to do before Christmas, or Sally’s birthday, or Valentines day or summer.

The living room without the ceiling I took down

I can see the list from where I’m standing. It’s shoved under a leg of the scaffolding covered in sawdust and insulation but I only have to glance at the blue indelible ink on the page to know that it’s “SAND & STAIN” day. Dean surfaces behind me while I’m making coffee in the French press.  He kisses my shoulder. “Chop Chop let’s get workin’,” He says.  We’ve got to finish prepping the one hundred and eight 10’x6” planks we hand-selected to line our newly exposed cathedral ceiling.

I stretch my high-end facemask over my nose and mouth—a gift from Dean to  protect my lungs from the sawdust.  I’m in charge of the 220 sandpaper and the Black & Decker power sander while Dean takes on the more cumbersome Porter Cable.

The sun rises behind us warming the thick canvas of our coats but never really getting to the core of the winter inside our bones. Once the sanding’s done, we’ll wet the planks, dry the planks, prime the planks, stain the planks, and polyurethane the planks (twice). Of course, we won’t get it all done today.

Some friends we got to help us install some metal beams

Dean has taught me so much about renovation. He has a knack for seeing a house’s full potential and bringing it to fruition. He’s not afraid to take on a “project” and I turn out not to be at all shabby at this whole house-building thing either. In fact, despite the 6:00 wake-up call, I like working outdoors, with my hands, with power tools. It’s meditative, mindful, creative, and a great workout. I definitely recommend it.

My blue guitar case is in the corner and like our “To-do list,” it’s also covered in dust. I walk by it every time I leave the house. It makes me sad. I imagine I can hear it singing to itself inside its case, just trying to keep itself company in the dark. I don’t dare take it out now for fear it might get demolished along with the rest of the house. It’s OK. I know it’s writing melodies in there without me, for me to sing to so I’m not worried. It’s weird to be consumed by something so completely different than music. But it feels good too. Like a vacation. Like a moment of silence.  I could get used to this life off the road.

Sal’s drawing of 2403 Pine Street

Boulder, CO – “Making it OK” – Sept 25, 2001

Colorado — This is truly home.  Here, my house is vast—the sky is my ceiling and the mountains, my walls.  Even alone, as I find myself this morning – with Dean in Thailand, dad chasing highways, mom and Ben on Martha’s Vineyard and the band scattered who-knows-where — I feel held.  Anchored. There’s something about this place that quiets the noise and brings me back to center.

I clutch a mason jar filled with scalding lemon tea, warming my hands against the cool morning air. The familiar trail to Sanitas calls.  It’s a trail tucked into the folds of the front range. It etches its way through green fields, across a perfect stream up into the jagged beauty of purple rock formations that jut from the earth like a stegosaurus’ spine or a pair of prayerful hands.  When I reach the top, Boulder stretches below—a snapshot of the life I’ve built yet rarely stop to live in. My heart pounds against the thin, crisp air, and in this moment, I feel whole and peaceful for the first time in ages.

I try to remember who I was before I started touring and what that person really wants. My sense of success has gotten undeniably skewed —a casualty of the hypnotic heatwaves that ripple off endless highways, of chasing milestones that always seem just out of reach— more CDs sold, more gigs booked, better venues, better pay. On the flight home from Reno, I had an epiphany so sharp it felt like a slap to the face: “Making it” doesn’t necessarily mean “making it OK.”

That realization brought me here, to the summit of my world in Boulder, where I’ve come to reassess what success really looks like—and to ask myself whether music still plays a role in it.

Soucy, Kenny & Brian McRae late night waiting for a hotel room key outside Moby at 2am

Apparent right away is how much success means connection for me.  I think of the camaraderie that comes with life on the road—the sardine-can closeness of five people crammed into a van, sharing the bittersweet humilities of small-scale touring. The struggle, the inside jokes, the laughter forged by shared challenges. Those moments are what I truly cherish about the lifestyle. But the reality of small-scale touring comes at a cost, and those costs are mounting.

There’s a pressure that looms over every musician (perhaps me more than most with two famous musical parents)—a silent expectation to climb a one-way, invisible ladder. Clubs. Theaters. Amphitheaters. Arenas. Stadiums. Each step upward validates your “success,” not just for the outside world but for your bandmates too, who’ve paid their dues and deserve more than cramped vans, bad pay and nameless motels. This trajectory weighs heavy on me, warping my definition of success and feeding the insecurity of who I think I should be in the minds of others.

And then there’s the financial reality. Every dollar earned is a dollar spent, getting us back on the road, and keeping the vision alive. It’s draining and disheartening to have invested so much into this pursuit to only now be nearing the break-even point.

Then there’s the physical toll of touring —drinking too much, staying up all night, risking our lives with all-night drives, and eating crap food. This lifestyle is starting to feel at odds with my desire to live past 40. The grind is wearing me down, threatening to leave me burnt out before I get a chance to burn bright.

But perhaps the greatest cost of a life spent on the road is love.  I know what the life of a musician does to love.  It contorts it, pulls at it, feasts on it, and leaves it dead on the side of the highway like road kill, and that’s not the worst of it. 

Having fallen in love with the man I dream of marrying one day, I find myself at a crossroads— love vs. music.  Apart from the harm I know my career can do to a relationship, there’s the glaring ache at the thought of being away from him—to miss out on mornings in bed, late-night talks, and the simple joy of being present—feels unbearable.

How can I reconcile this growing desire for a grounded, shared life with the transient, thankless, punishing chaos of a life spent on the road?

In addition to all of this, the world outside my small bubble feels heavier, too. The twin towers have fallen. The country is at war. These collective tragedies make the urgency for connection feel even more pronounced while simultaneously making my world of music feel small, almost trivial by contrast.  Paradoxically, the life I’ve built to connect with others—through music—has often left me feeling disconnected. From family. From love. And most importantly from myself.

Standing here in Colorado’s stillness, I can see the shape of a truer, more robust version of success. One that isn’t built on arbitrary milestones, ticket sales, or venue upgrades. It’s about fostering authentic connections—whether through shared laughter on tour or quiet moments with loved ones. It’s about being rooted in who I am rather than chasing who I think I need to be for others.

Does music still play a role in that vision? Maybe. Maybe not in the way it has in the past. Perhaps it’s time to explore what music looks like when it’s not tied to hustle or survival. Maybe music could return to being a source of joy rather than a measure of achievement.

What I do know is that ownership of my life and my choices feels more critical than ever. To find balance. To breathe. To connect. Here, in Colorado, under the vast ceiling of sky and within these steadfast mountain walls, I feel like I’m finally beginning to understand what success could really look like. It’s not “making it.” It’s making it OK—making it right for me.

And isn’t that worth everything?

Boulder, CO – “This is The Last Time I’m Falling in Love” – Trilogy Wine Bar – June 30, 2001

“I’ve never seen so many capers in my life,” said Soucy, staring at the top shelf of Trilogy’s pantry/greenroom sagging under the tremendous weight of condiments in bulk. Trilogy has no official backstage, something I discovered the first time I played here with my Brother (Read about that gig here).  A year and change later, little has changed.  The venue still houses bands in their overstuffed pantry with it’s jars of fava beans and salsa.  It’s not bad really. We sit on cartons of fruit and barrels of wine and snack on garbanzo beans and pickled beets.  We tune our guitars and rehearse harmonies while dodging the bare bulb that hangs low between us.

I’m particularly buoyant this night and the boys want to know why.  I’m ashamed to say it, but I’m in love.  No, no really in love.  Not obsessive compulsive Sam love, or spring fling Jack love but real to GOD, I want to get married in love — with Dean Bragonier.  How did this happen? the boys groan as if I’d managed to fall into an open manhole and not for the first time.  Their disappointment makes me giggle. They’re convinced my heart is accident-prone as I explain the circumstances surrounding what they consider another mishap and I consider true love

Here's The Story:

I flew to Georgia to play a show with my Mom on Amelia Island. I had a day-and-a-half layover in Martha’s Vineyard on the way back.  It was a warm summer night and my bass player, Adam, from my old disco band, “The Boogies,” asked me to join him for the opening of a new restaurant called “Balance.”  So, in a striped aqua blouse and a brightly colored hat that I borrowed from my mama, I danced glitteringly into the town of Oak Bluffs. 

I saw him the second I walked in.  The handsome, no-named stranger I’d admired throughout my teens.  The one I frequently oogled at end-of-the-dirt-road-parties we both washed up at at the end-of-the-night on summer break.  The one who occasionally smiled an unreasonably broad grin my way but never spoke to me.  The one who lifeguarded on the nude beach I went to as a 16 and 17 year old naked girl.  The one who now, as a dashing young man of 27, I was ready to meet.  I kept track of him loosely as I went about the party, catching up with old friends. It wasn't too hard. He was tall and seemed to glow with an inner radiance.

When I noticed he was keeping track of me too, I thought I could relax my harnessed gaze when suddenly he was gone -- Nowhere to be seen.  With a single night on the island I wasn’t going to let my chance slip away.  I strolled outside to “get some fresh air” where I spied Adam and his girlfriend under a street lamp having a smoke.  I sauntered toward them, using their company as an excuse to scan the area for him without being painfully obvious.  When he was nowhere to be seen, I sighed, and decided it was not meant to be.

“I’m gonna head home,” I told Adam when from behind I heard,

“Do you think I could get a lift from you?  My ride left without me.”

I turned to see Dean standing just inches from my face.  His smile illuminated like a strand of brilliant diamonds. I caught my breath. I could see my future in the umber of his eyes.

At this point, the band rolls their collective eyes. They’re so over it. I continue.

“Of course,” I said, I may have stuttered.  “Where do you live?” I asked.

“It’s on your way,” he assured me.  Interesting, I thought, so he knows where I live. 

“That’s not interesting,” interjected Soucy, “that’s just frightening.”  I ignored him and went on.

We floated to my parked car and made small talk on the drive.  I was sure a kiss was in my future when he said, “You can just drop me off here on the side of the road. I can walk from here.”  I was stunned, a little embarrassed and slightly confused.  Was his request for a lift really just that?  The need for a ride? 

“Don’t be silly,” I retorted, “I don’t mind taking you to your door.”

“Thanks,” he seemed somewhat surprised, and I wondered how I’d so badly misread his cues.  “It’s this right,” he pointed to a paved turnoff.  His crushed clamshell driveway glowed in the moonlight.  My motor running, he opened the passenger side and stepped out of the car.  This was it.  He was going to wave goodnight to me and go inside without me!!!! What the hell?!?! I thought angrily.

“Thanks for the ride Sally,” he said, then hesitated before closing the door.  “I’d love to have a drink with you sometime if you’re not too busy,” he said.  The world froze around us, the moon sat still on the dark ocean and a smile crested like a wave in slow motion across my lips and at the very bottom of the deepest most luscious breath I’ve ever taken I said,

“What about now?” 

We were inseparable for days.

The band groans again.

“No, not like that, we just were intoxicated in each other’s company. He really is The One, guys. This is me, falling in love for the last time.”

This does nothing to quell the band’s disbelief in my stupidity and they all but throw up their arms when I say, “Dean’s embrace is where I surrender.”

“Naw, Sally!” Kenny says.  “Not again,” Soucy drops the neck of his guitar.  Delucchi looks at me disgusted, like he’s rehearsing the act of picking up the pieces of my broken heart again and Dean Oldencott (our new drummer) looks anxious, unsure of who or what to believe.

To the band, I’m the girl who cried “love” like the boy cried “wolf” and they’re sick of my adrenaline junkie, buggy-corded dives into relationship time and time again.  There’s no convincing them that this time it’s for real, so I leave it at that and dictate a set list which the boys scribble down in purple ink on the back of their garbanzo-stained napkins. 

“Nisa, SOS, Sign-o-Rain, When We’re Together, Wait…” then we go out and crush it, and Dean Oldencott is fabulous and the whole world falls into place like the last piece of a complicated puzzle.

Mark my word people, This is the last time I’m falling in love.

Boulder, CO – “I Hired The Wrong Drummer” – June 20, 2001

I want to say it was optimism that drove me to hire Steve (not his real name) to be our new drummer.  But in truth it was more likely desperation.  We’d been auditioning potential drummers for a week straight.  They came in batches of three and hauled their 20-piece kits into Delucchi’s garage.  Most knew our songs but couldn’t hold down the and Kenny shook his head as they trod past him in their backward facing baseball caps and sports jerseys. 

Auditioning drummers is not like auditioning a guitar player or a keyboardist or even a bass player.  Drummer’s come with kits as heavy as rinos and as labor intensive to put together as Ikea kitchenettes.  Auditioning three drummers is an all-day affair and once one has proved his mettle, next comes auditioning their personality—are they someone we want to share a sardine-sized space with for months on end?

Being in a band (especially one that travels in a van, playing mid-sized venues) is like being in a non-sexual polyamorous marriage—tenuous and hard to manage.  It requires patience, forgiveness, empathy, generosity, lots of cooperation, consideration and love.  There is no “I” in “B A N D.”  This was one of the bigger things I had to overlook when hiring Steve.  But, unfortunately, it wasn’t the only thing.  Steve couldn’t count off.  This is drumming 101 and should have been enough of a reason to pass him up.  “1, 2, 3.  4, 5, 6” he’d swing into a song in 4/4.  This would have been impressive were it intentional.  But it was NOT intentional and a major red flag.

However, once into a song, Steve was good.  Better than good.  He was talented and tasty.  Everyone agreed, and Kenny said he was willing to do the count-offs for Steve.  So we hired’em and test-drove him at “The Double Diamond” gig in Aspen on the 14th.

It wasn’t great.  Steve lagged on the upbeat songs and sped through slower tunes.  He lit up a cigarette as soon as he got in the van and complained about the pay.  He played his music so loudly in his headphones it actually drowned out what we were listening to on the sterio. And after a performance, which we were sure he’d apologize for and promise to get better after, he, instead had the gall to leave us to break down his drum kit so he could catch up with some friends.  In an impromptu meeting in Steve’s absence it was unanimous, Steve was a lemon.  But Kenny, insisted we not throw out the baby with the bath water.

“It’ll be fine,” he said “Let me work with him.  We’ve got the CD release party in two days at Tulagi’s.  We’re not going to find another drummer before then. Put together a rehearsal tomorrow, and I’ll work with him.”

“OK,” I agreed, “But can someone get in touch with Dean Oldencott, in the meantime?  He’s great and said he might be available to go on the road this summer.”

I got banned from band practice on Friday.  Though I’d asked him to bring a metronome to rehearsal and memorize the structure of the songs, Steve had failed to do either.  It’s a rare thing for me to lose my temper but after running the first three songs at flagging tempos and no clue when the chorus’ were coming, I yelled at Steve.  “I asked you to bring a metronome!”

“Ok, ok, Sal.  Take a beat,” said Kenny, unsarcastically.

“I hope I hired the right drummer,” I said skeptically as Kenny ushered me out of the room so they could regain Steve’s confidence and get some work done.  I love Kenny.  Soucy too, has been exceedingly compassionate with me recently and I appreciate it.  My nerves are fried since I broke things off with Jack.   

I got the first batch of Shotgun CDs back this week and they look great.  Perhaps too great.  Shotgun doesn’t look like the demo it’s meant to be but rather more like a highly polished and produced album.  I hope our audience will understand it’s only a first draft of songs we hope to get feedback on before re-recording professionally.    

Our release party at Tulagis on Saturday night was a great success but Steve was not, and after he’d loaded his last cymbal into his car and taken his pay, I ushered him aside and let him know, “This is probably not going to work out.”  He knew it was coming.  He had to.  He shook my hand and evaporated into our past.  Dean Oldencott will tour with us this summer.

Thank God!

Wheatland, WY – “Stranded at the Armory” (A Story Told in Polaroids)- April 23, 2001

The Evan and Jaron gigs were ill-advised and now, I’m sick as a dog.  But it was a relief to have a legitimate excuse to cut the tour short—2,896 miles short to be exact.  Soucy and I were supposed to play 6 more gigs with the twins but thanks to my illness and a freak blizzard, we’re back in Boulder.  Being sick in Boulder is much more simpatico than being sick in the middle of Wheatland Wyoming, off exit eighty-something with a road closed both in front and behind us.

But let me back up:

Soucy and I drove to Seattle on a blustery, crisp Easter Sunday to start our 10-gig opening act tour with Evan & Jaron—“Crazy for this Girl,” (their radio hit from Dawson’s Creek). Though we’d have to do our own driving and though it only paid $100 a show, I figured it’d be good exposure and an opportunity to get in front of a different audience.  Unfortunately, Evan & Jaron’s fans are thousands of screaming 12-year-old girls. Each night a different batch of glittery eyed girls came with the sole objective of bounceing up and down and fawning over their favorite boy band and each night, I was holding them up.  To save money, we’d lined up a constellation of couches spanning states through which Evan and Jaron’s tour would take us. When, after the show in Seattle, I found myself at a friend of a friend’s place sleeping between a ridgeback, a retriever, and a pit bull with a tickle in the back of my throat, I thought things couldn’t get much worse … but they could.

Portland was a better show and in Salt Lake City we even managed to sell a single CD! (to a mother of one of the 12-year-olds).  In Utah, I told Evan I might have to bail after Denver due to my increasingly severe hacking cough and fever.  Besides being sick, driving 3,000 miles on deserted highways late at night to keep up with the twin’s cushy tour bus wasn’t safe for Soucy and me.

In the morning after the SLC show,  we grabbed a cheese scone and headed East on I-80.  We were making good time until we reached Sinclair.  There, a cop dressed in neon green was parked in front of a “ROAD CLOSED” sign. He waved us to stop. “Blizzard up ahead,” He explained.

“What are our options?” I asked with my stomach clenched, “We need to get to Denver by 5 o’clock.” The neon officer looked to the sky in consideration.

“You can go back to Rawlins, take 287 North to Casper which’ll link ya’up with I-25. It’s only a couple ‘u hours out of the way.”

“How long if we wait here for the road to open?” I asked hopefully. 

“Couple a days,” he said without a grin. We headed toward Rawlins.

I-287 was like an ice rink.  The wind blew sideways and tall trucks with wide loads threatened to tip onto us.  Soucy and I drove in silence, preserving every ounce of concentration for the road ahead.  Making sound check in Denver was definitely not worth our lives.  By the time Soucy took the wheel in Casper, the conditions had worsened and as we approached Wheatland, you could barely see 10 feet in front of you. But it’s a good thing we had 10 feet of visibility or Soucy may not have stopped at the barricade that denied us access into Colorado for now a second time. The highway was closed both to the South and to the North of us. All that was left for us was to find accommodations for the night and call the twins to explain why we were unable to make the gig.

In Wheatland, there’s a Best Western, a Motel 6, a Wheatland Inn, a Parker Lodge and something called, Vimbo’s Motel and Restaurant but not one vacancy between the five of them. The woman behind the counter at Vimbo’s (needless to say, our last resort) said she’d heard the Armory was opening at 7:00 “They’re flying in the National Guard.  They’ll be handing out cots and blankets then — women and children first.” She said strangling the last of her orange soda from a striped straw. As we walked back to the car at 5:30, Soucy tried to lift my flagging spirits.  “Let’s go bowling,” he said, “We passed a place back there on the left.”

Vimbo’s on a sunnier day

The bowling alley was packed.  Local teens paraded thin mustaches passed tables of prepubescent girls who wore tight ponytails and smoked unfiltered cigarettes through candy-glossed lips. We walked across a meadow of dirty green shag carpet to the front counter and ordered some onion rings, french fries, and a pitcher of Budweiser. I’d only bowled once before but Soucy said “I’m sorry Sal, I’m not gonna take it easy on ya.  I was on my high school bowling team so I’m pretty good,” he bragged.  When he won by only one point – 126 to 127, He said I must be a natural.

While we sat in a booth drinking our flat, watery Bud the blizzard raged outside. That’s when Mike Urosky entered our lives.

Mike Urosky

I’d seen him earlier, at Vimbo’s, also stranded, also looking for shelter, also denied. “That Armory,” he said breathlessly as he passed and recognized us, “It’s PACKED. I guess they opened their doors at 3:00 this afternoon and you’d better get over there if you want to get a spot. They’re out’a cots. I got one’a the last ones. But you’ll at least get some space on the floor.” Panic-struck Soucy and I abandoned our onion rings. “I’ll lead you guys over if you want to follow me,” Mike generously offered.

The armory, indeed, was packed. Children, in booty-clad pajamas, chased each other around parent’s legs. People, who normally would not mix—a heavily pierced and combat boot-wearing giant, an Amish elderly couple, a stranded monk, a glamorous lady with an alagator bag—all sat uncomfortably in folding chairs, guarding their coveted cots.   I held my breath as I fumbled with other desperate hands, through a box of bedding,  looking for the least threadbare of the olive green cardboard blankets on offer.

Mike’s nice teal eiderdown covered cot

There were no cots left as Mike had warned — just naked splotches of cold cement floor. Soucy put our blankets on the ground near Mike’s cot, which was covered with an teal eiderdown he’d retreived from his overstuffed car. He was in the process of moving from Lake Tahoe to New York to be a chef at a four-star restaurant. Turned out he was a drummer too, had his whole kit packed into the back of his car. He was traveling solo and had no dining company so we offered up ours.

Candy

Another girl, Candy, who was on duty at the barracks (which coincidentally turned out to be home to none other than the National Guard’s 67th Army Band) got off work to come to dinner with us. She was 24, a clarinet player and the boys (Soucy and Mike) sang all they could remember of the lyrics to The Car’s hit “Candy-O,” as we drove to Cassie’s Restaurant and Bar where elk, deer, and caribou heads watched us from spruce covered walls and where we all became lifelong friends — for the night.

Soucy, Sal, Mike & Candy in front of the 67th National Guard Army Band Drum Kit

Candy was also really cute and Soucy made yummy sounds at her from across the table over his teriyaki chicken until she told us about the horrible divorce she was in the middle of with a man who’d been cheating on her since they’d married at age 19.

Severe situations called for severe measures so we all piled in my Rav4 and drove down to the local drive-through liquor store/bar/tavern/grill place and continued to anesthetize ourselves. We shot pool. We played every Zeppelin tune on the jukebox and then all the Hendrix ones until we closed the joint at Midnight.

When we returned to the muddy, wind-washed parking lot of the National Guard’s Armory, Mike, remembered he was carrying approximately $6,000 worth of rare red wines in the trunk of his car to the restaurant he was relocating for. “They shouldn’t miss this,” he said, grabbing a $60 dollar bottle from a case and de-corking it.  With our backs to the freezing wind and our eyes tearing and turned toward the northern sky, we took turns swigging from the brown bottle.

“It has a really nice rich oaky character with subtle hints of cherries and currants,” joked Soucy, smacking his lips together after a swig, making light of our current situation. The idea of returning to the bald cement patch of floor, the cardboard blanket, and the 200 other sleeping bodies was unthinkable and we did everything we could to erase our inevitable destiny from our minds.

The tickle I’d felt in the back of my throat was turning into something truly compromising and Doc Soucy insisted we end our Evan and Jaron adventure so I could get home and get looked at.  I knew he was right.  We knew eventually, we’d have to go inside and try to fall asleep.  But we wanted to be good and tired and drunk before attempting it. 

Tidal waves of snores hit us when we entered the armory. The sound echoed off the gymnasium walls — It felt sad and contagious. Blind and drunk, we navigated through a maze of sleeping bodies, inadvertently stepping on the edges of people’s blankets and stumbling over their stray luggage.   Soucy curled up in a bass drum, Mike, who’d gallantly given me his cot, found a thin, inflatable yellow raft and slept on that.

The Nice Guy Who Gave Soucy His Yellow Raft to Sleep On.

Our dreams couldn’t have been any more surreal than our reality. We tossed and turned all night, and finally, when dawn broke, we woke to Reveille and combat boots and fatigues swished by our partially cracked eyelids. What a night. We were exhausted but WE’D MADE IT!!!!

The roads were back open this morning and the snow had stopped.  We thanked Mike and Candy for their company and called Evan & Jaron to break up with them.  I’m glad to be home.  Sick, but home.

Sal & Soucy, Sick but Home

Boulder, CO – “Putting the Band Back Together” – April 11, 2001

“You’ve Got a friend” is playing in the café I’m writing in.  The soothing chords of dad’s guitar seem to bounce like light off the honey shelacked floor boards.  Hearing either of my parents on the radio always feels like a sign that I’m on the right path somehow.  There are six other people in the cafe this morning and each of them is humming or all out singing along to my dad, unaware of my relation.  How amazing it is to know what an impact my little ol’ daddy and mommy have had on the world.  It’s amazingly heartwrming to know, as he sings “You just call out my name,” that I am one of the few people he’d actually come running for.  The thought is particularly potent and a tear comes to my eye as I type.  I am, indeed, in need of a friend this morning.

In the middle of mixing Shotgun yesterday, I got a call from Kyle saying he never wanted to go on tour again, that he wanted to raise a family, and that he was sorry.  I managed to remain calm and accept the news as something that could be for the best, but by evening I was panicked.  With our May tour only three weeks away, I called Johnathan Shank, our agent, to see if we could postpone it.  This was a big ask.  I know what goes into booking a tour. It’s a nightmare having to juggle routing, negotiate offers and hold available dates. I’ve booked enough gigs to easily want to give up %10 of every show to never have to do it again.  I held the phone and cringed as I relayed the news to Jonathan of Kyle’s departure and the need to find another drummer before our spring dates.

“Give me a second,” Johnathan said, cool as a cucumber.  I held my breath as he shuffled papers on what I imagined to be his very messy desk.  “I had an offer for you to open for Even & Jaron solo for their tour starting on the 15th but turned it down as it ran into your first week of dates.”

“Who are Even & Jarod?”

“Jaron,” Shank corrected.  “They’re a pair of twin orthodox Jewish brothers — had a couple hits from soundtracks — Runaway Bride and Dawson’s Creek last year, and they have a new song on a John Cusack movie coming out this summer.  You want it as a buffer, and I’ll rebook your spring tour for summer?”

“God damn Jonathan, you’re good.  But, that means starting in four days, right?  What are the logistics?”

“Starts in Seattle. It doesn’t pay well — $100 bucks a gig, you’d barely make enough to cover gas and lodging.  It would mean playing solo and you’d have to drive yourself between gigs.  Evan and Jaron don’t play on Friday nights, they observe the Sabbath and no soundchecks before sundown on Saturdays.  You’d pretty much be playing two shows on the weekends with an occasional midweek gig for a month through May 15th.”

“Man, that sounds totally shity.  Can I bring Soucy?”

“Yeah, probably.”

“Ok, book it and send me deets on the first gig. I’ll see who has couches I can crash on.”

“Done,” said Jonathan and hung up the phone.  What a pro. 

My next call was to Soucy to get him on board and by the end of the night, I’d put our mixing schedule on the fast track and asked the rest of the band to start fishing around for drummers to audition mid-May.  This morning, before I came to this cafe to write, I took my little purple Rav 4 in for a check-up and threw together some set list ideas. 

This could be good, I thought to myself as “You’ve got a Friend,” concluded.  I’m on the right pathMaybe we’ll find an even better drummer. Maybe we’ll make gas money in CD salesMaybe Evan & Jaron’s audience will become our audience.  Maybe Evan and Jaron will hook us up with their soundtrack agents and we can get a song in a movie.  Maybe—uh oh Fire and Rain just came on.  How funny. They must have dad on shuffle. 

Maybe that’s MORE of a sign I’m on the right track!!

Boulder, CO – “Re-rooting and Recording” – February 28, 2001

Back in Boulder after attending my dad and Kim’s wedding in Boston, I called a band meeting in my living room.  We hadn’t seen each other as a group since December and everyone except Soucy and I looked well-rested. 

“My plants are dead,” I said shaking one in my outstretched hand.  “Even the succulents,” I continued somewhat exasperated placing the skeleton of a jade on the table.   “I don’t know about you guys, but I need a break from the road.”  The rest of the band shuffled uncomfortably in their seats, unsure of what to say.  No one could deny that our last tour had been emotionally challenging and it was no wonder why. In 2000 alone we’d wracked up over 180 shows and whittled each other down to our very last nerve. 

“There’s no doubt in my mind it’s paid off to tour so rigorously.  We’re playing bigger venues, getting better pay and better interviews but It’s too much.  I’m exhausted.”

“So what’s the plan?” asked Delucchi, always on the lookout for the solution.  I took a deep breath.

“The plan is to sleep for the next week.   Then make a record and book a tour in May to promote it.”

“Wait, wait, wait,” said Kenny “You want me to hang out with my wife?!?  She’s gonna divorce me in less than a month if she has to actually live with me.”  I was grateful for the comic relief.

“Why do we need another record?  6S is only a year old,” Soucy pointed out.

“I know, but we need new material to sell at shows.   Our fans aren’t going to buy the same ol’ albums again and again.  We’ve got a ton of new tunes—”

“Thanks Sam,” Soucy rolled his eyes at me.

“—And the plan is to record the whole thing in a week.  It’ll be a demo* with a mail insert offering fans the opportunity to get involved in our music.  We’ll let them vote on their favorite tunes, offer production ideas and feel part of the whole record-making process.  After we tour with the demo for a year or so, we can gather everyone’s ideas and make a professional version of the songs and retire the demo.  It’ll be like a special limited edition.  What do you think?”


“Why don’t we just make the professional version now?” asked Soucy.

“I still haven’t recouped what I spent on the last album.  I can’t justify spending more than 10G on a new record.” The plan excited to me—something that would give us a chance to regrow our roots at home, get some well needed rest all while ensuring the band gets paid without breaking the bank.  So I was dismayed to see their heads bobbing unenthusiastically in response.

“I booked a studio downtown called Fourth Stage for the week of March 11th. We’ll call the demo Shotgun—as in shotgun wedding to represent the record as a fast and furious effort.”

“Like shotgunning a beer,” said Kenny.

“Like sitting shotgun,” suggested Soucy.

“Who’s goanna produce it?” asked Delucchi.

“No one — I will.  Mike Gworek is gonna engineer it.”  Kyle Commerford hadn’t said a word all meeting so when everyone agreed to my proposal except him, he announced he had big news.

“Traci’s pregnant,” he said “I’m having a baby.  To be honest, I’m not sure I can commit to recording in March and I’ll definitely need to take August and September off.  I’ll let you know. But whatever you need to do, I’ll understand.”

Left to right: Kenny Castro, Sally, Chris Delucchi, Chris Soucy, Kyle Comerford

While we were obviously excited about Traci’s pregnancy and the prospect of a baby Drumerford, the prospect of an alteration in the band lineup was daunting at best.  I couldn’t bring myself to contemplate the idea of having to find and rehearse a new drummer so I let the matter be a problem for another day and the band meeting concluded with slaps on the father-to-be’s back and a march down to the local pub to celebrate. 

In the most recent issue of 5280, Denver’s most prestigious magazine, I somehow ended up on “Denver’s most eligible bachelors” list and have been getting endless shit for it from all my friends as well as endless attention from random strangers.  Yesterday, someone I’d never met sent me flowers and the guy who delivered them asked me out on a date!  It was surreal.  But I’ve started dating a handsome young waiter, we’ll call him Jack, who happens to share Sam’s last name (an annoying coincidence) and works at my favorite restaurant Jax downtown.  Though my heart is still closed for renovations, I’ll opened it a crack for Jack.


*Footnote:

Demo: A music demo is a recording of a song or group of songs that is usually not ready for public release. It’s a rough draft or sample that showcases the core elements of a series of songs and gives listeners an idea of what the final product will sound like.